goal of the exhibit was to move beyond the dominating brand of Western feminism, and instead showcase different understandings of feminism and feminist art from a global perspective. Women Artists: 1550-1950 Alongside Global Feminisms, Nochlin also co-curated Women Artists: 1550-1950, the first international art exhibition created solely by female artists on December 21, 1976. It debuted eighty-three artists from 12 countries, and contained roughly 150 European American paintings. In the exhibition catalogue, Ann Sutherland Harris and Linda Nochlin stated “Our intention in assembling these works by European and American women artists active from 1550 to 1950 is to make more widely known the achievements of some fine artists whose neglect can in part be attributed to their sex and to learn more about why and how women artists first emerged as rare exceptions in the sixteenth century and gradually became more numerous until they were a largely accepted part of the cultural scene.” As a four-city exhibition, it was originally located at the Los Angeles County Museum of Art in Los Angeles, California, United States. It was then moved and displayed at the Jack S. Blanton Museum of Art at the University of Texas in Austin, Texas. It then continued its journey and was displayed at the Carnegie Museum of Art in Pittsburgh, Pennsylvania, and completed the exhibition at the Brooklyn Museum in New York City, the same place Global Feminisms was displayed. Feminist art history In 1971, ARTnews published Nochlin's essay "Why Have There Been No Great Women Artists?", in which she explored assumptions embedded in the title's question. She considered the very nature of art along with the reasons why the notion of artistic genius has been reserved for male geniuses, such as Michelangelo. Nochlin argued that significant societal barriers have prevented women from pursuing art, including restrictions on educating women in art academies and "the entire romantic, elitist, individual-glorifying, and monograph-producing substructure upon which the profession of art history is based ". The thirty-year anniversary of Nochlin's ground-breaking inquiry informed a conference at Princeton University in 2001. The book associated with the conference, "Women artists at the Millennium", includes Nochlin's essay ""Why Have There Been No Great Women Artists?" Thirty Years After". In the conference and in the book, art historians addressed the innovative work of such figures as Louise Bourgeois, Eva Hesse, Francesca Woodman, Carrie Mae Weems, and Mona Hatoum, in the light of the legacies